L'arrivée d'un train à La Ciotat (1896)

Directors:

Auguste Lumière
Louis Lumière

Release Date:

1897 (Turkey)

Genre:

Short | Documentary

Plot:

Another of the Lumiere Brothers' one-shot films, this time showing a steam train arriving at a station...

Plot Keywords:

Train | Railway Station

Also Known As:

Arrival of a Train at La Ciotat (USA)
L'arrivée du train en gare de La Ciotat (France)
The Arrival of the Mail Train

Runtime:

1 min

Country:

France

Color:

Black and White

Aspect Ratio:

1.31 : 1

Sound Mix:

Silent

Filming Locations:

La Ciotat, Bouches-du-Rhône, France

Company:

Lumière

Trivia:

Film historians agree that the first public exhibition of motion pictures occurred on 28th December 1895 when Auguste Lumière and Louis Lumière (the Lumière Brothers) exhibited a selection of ten of their single-reel films to a paying audience at a Parisian café. Popular legend has it that, when this film was shown, the first-night audience fled the café in terror, fearing being run over by the "approaching" train. This legend has since been identified as promotional embellishment, though there is evidence to suggest that people were astounded at the capabilities of the Lumières' cinématographe.

Movie Connections:

Referenced in "Gilmore Girls: The Fundamental Things Apply (#4.5)" (2003)

Remarkable; unforgettable; the definitive image of 1890s cinema

There doesn't seem to be anything particularly exciting about an approaching steam locomotive, but somehow this image has stuck, the first iconic scene in cinematic history. Produced by pioneering French filmmakers Auguste and Louis Lumière, 'L' Arrivée d'un train à La Ciotat / Arrival of a Train at La Ciotat' was filmed at La Ciotat, Bouches-du-Rhône, France on December 28, 1895 and first screened to a paying audience on January 6, 1896. The 50-second long film, like most other Lumière shorts, successfully captures a brief snippet of everyday life, chronicling the gradual approach of the train, its slow to a halt, and the disembarkment of its passengers.

For many years, there has been an enduring myth than, upon the first screening of the film, the audience was so overwhelmed by the image of the train bearing down upon them that they fled the room in terror. This has been shown to be something of an embellishment, and, though the film would undoubtedly have astounded and mesmerised audiences, there was never any real mass panic. French scientist Henri de Parville, who attended an early screening, is said to have written: "The animated photographs are small marvels. ...All is incredibly real. What a power of illusion! ...The streetcars, the carriages are moving towards the audience. A carriage was galloping in our direction. One of my neighbors was so much captivated that she sprung to her feet... and waited until the car disappeared before she sat down again." This, I think, adequately sums up how remarkable the film must have seemed back in 1896.

Auguste and Louis Lumière obviously recognised the power of illusion offered by their Cinématographe. In order to maximise the shock value of the approaching train, they have mounted the camera as close as possible to the edge of the platform, so that the audience feels as if they are almost standing right in the locomotive's path. The people departing from the train are just normal citizens going about their day (several Lumière relatives, however, can be spied on the platform), enhancing the realism of the short. Cinema does not get much more memorable than this.